Gorgias - Rhetorical Innovation

Rhetorical Innovation

Gorgias ushered in rhetorical innovations involving structure and ornamentation and the introduction of paradoxologia – the idea of paradoxical thought and paradoxical expression. For these advancements, Gorgias has been labeled the ‘father of sophistry’ (Wardy 6). Gorgias is also known for contributing to the diffusion of the Attic dialect as the language of literary prose. Gorgias was the first orator to develop and teach a "distinctive style of speaking," (Matsen, Rollinson and Sousa, 33).

Gorgias’ extant rhetorical works (Encomium of Helen, Defense of Palamedes, On Non-Existence, and Epitaphios) come to us via a work entitled Technai, a manual of rhetorical instruction, which may have consisted of models to be memorized and demonstrate various principles of rhetorical practice (Leitch, et al. 29). Although some scholars claim that each work presents opposing statements, the four texts can be read as interrelated contributions to the up-and-coming theory and art (technê) of rhetoric (McComiskey 32). Of Gorgias’ surviving works, only the Encomium and the Defense are believed to exist in their entirety. Meanwhile, there are his own speeches, rhetorical, political, or other. A number of these are referred to and quoted by Aristotle, including a speech on Hellenic unity, a funeral oration for Athenians fallen in war, and a brief quotation from an Encomium on the Eleans. Apart from the speeches, there are paraphrases of the treatise "On Nature or the Non-Existent." These works are each part of the Diels-Kranz collection, and although academics consider this source reliable, many of the works included are fragmentary and corrupt. Questions have also been raised as to the authenticity and accuracy of the texts attributed to Gorgias (Consigny 4).

Gorgias’ writings are both rhetorical and performative. He goes to great lengths to exhibit his ability of making an absurd, argumentative position appear stronger. Consequently, each of his works defend positions that are unpopular, paradoxical and even absurd. The performative nature of Gorgias’ writings is exemplified by the way that he playfully approaches each argument with stylistic devices such as parody, artificial figuration and theatricality (Consigny 149). Gorgias’ style of argumentation can be described as poetics-minus-the-meter (poiêsis-minus-meter). Gorgias argues that persuasive words have power (dunamis) that is equivalent to that of the gods and as strong as physical force. In the Encomium, Gorgias likens the effect of speech on the soul to the effect of drugs on the body: “Just as different drugs draw forth different humors from the body – some putting a stop to disease, others to life – so too with words: some cause pain, others joy, some strike fear, some stir the audience to boldness, some benumb and bewitch the soul with evil persuasion” (Gorgias 32).

Gorgias also believed that his "magical incantations" would bring healing to the human psyche by controlling powerful emotions. He paid particular attention to the sounds of words, which, like poetry, could captivate audiences. His florid, rhyming style seemed to hypnotize his audiences (Herrick 42). Gorgias' legendary powers of persuasion would suggest that he had a somewhat preternatural influence over his audience and their emotions.

Unlike other Sophists, such as Protagoras, Gorgias did not profess to teach arete (excellence, or, virtue). He believed that there was no absolute form of arete, but that it was relative to each situation (for example, virtue in a slave was not virtue in a statesman) His thought was that rhetoric, the art of persuasion, was the king of all sciences, since it was capable of persuading any course of action. While rhetoric existed in the curriculum of every Sophist, Gorgias placed more prominence upon it than any of the others.

Much debate over both the nature and value of rhetoric begins with Gorgias. Plato’s dialogue entitled Gorgias presents a counter-argument to Gorgias’ embrace of rhetoric, its elegant form, and performative nature (Wardy 2). The dialog attempts to show that rhetoric does not meet the requirements to actually be considered a technê but is a somewhat dangerous "knack" to possess both for the orator and for his audience. This is because it gives the ignorant the power to seem more knowledgeable than an expert to a group.